BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

The work of Gina Rorai are hybrids combining aspects of stil l life\, abstract\, and landscape painting. She believes in the totality of painting and sees the emotional connection of the painting to the viewer a s the critical element.

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In the still life paintings she uses her ow n collection of objects and fabrics. She combines interior still life and o utdoor landscapes on the same plane making the final painting ambiguous.

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Gina Rorai completed her BFA at York University in 1989. She w as included in 60 Painters at Humber Arts and Media Studios and in Continge ncy and Continuity: Negotiating New Abstraction at the Macdonald Stewart Ar t Gallery at Guelph. This is her first exhibition with Corkin Gallery.

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DTEND:20141118 DTSTAMP:20140821T160306 DTSTART:20140903 GEO:43.6503762;-79.358817 LOCATION:Corkin Gallery\,7 Tank House Lane \nToronto\, Ontario M5A 3C4 SEQUENCE:0 SUMMARY:Gina Rorai: The Path of Appearance \, Gina Rorai UID:352189 END:VEVENT BEGIN:VEVENT DTEND:20140903T200000 DTSTAMP:20140821T160306 DTSTART:20140903T170000 GEO:43.6503762;-79.358817 LOCATION:Corkin Gallery\,7 Tank House Lane \nToronto\, Ontario M5A 3C4 SEQUENCE:0 SUMMARY:Gina Rorai: The Path of Appearance \, Gina Rorai UID:352190 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140927 DTSTAMP:20140821T160306 DTSTART:20140906 GEO:43.6527287;-79.4467576 LOCATION:Christopher Cutts Gallery\,21 Morrow Avenue \nToronto\, Ontario M6 R 2H9 SEQUENCE:0 SUMMARY:WITHIN DISTANCE\, Simone Jones UID:351720 END:VEVENT BEGIN:VEVENT DTEND:20140906T180000 DTSTAMP:20140821T160306 DTSTART:20140906T140000 GEO:43.6527287;-79.4467576 LOCATION:Christopher Cutts Gallery\,21 Morrow Avenue \nToronto\, Ontario M6 R 2H9 SEQUENCE:0 SUMMARY:WITHIN DISTANCE\, Simone Jones UID:351721 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140926 DTSTAMP:20140821T160306 DTSTART:20140906 GEO:43.6352528;-79.5229937 LOCATION:Westmount Gallery\,88 Advance Road \nToronto\, Ontario M8Z 2T7 SEQUENCE:0 SUMMARY:Wearable Art\, Alan Sakhavarz\, Joanne Sipos UID:351717 END:VEVENT BEGIN:VEVENT DTEND:20140906T170000 DTSTAMP:20140821T160306 DTSTART:20140906T100000 GEO:43.6352528;-79.5229937 LOCATION:Westmount Gallery\,88 Advance Road \nToronto\, Ontario M8Z 2T7 SEQUENCE:0 SUMMARY:Wearable Art\, Alan Sakhavarz\, Joanne Sipos UID:351718 END:VEVENT BEGIN:VEVENT DESCRIPTION:

At the very foundation of the universe\, time can go both fo rward and backward. Energy can become matter and matter can turn back into energy. \;This is certainly not the way we perceive the world on a dail y basis. Somehow\, larger entities seem to be getting older\, to develop &l dquo\;time afflictions&rdquo\;. Time is forbidden to flow in reverse\; the law of Entropy forcing everything into one direction only\, toward what we perceive as the future.

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Using values of texture\, light\, colour an d contrast between certainty and uncertainty\, Eugen Florin Zamfirescu atte mpts to express the effects of Entropy\, as well as reveal the inner beauty of the objects he collects and photographs. In this new body of works\, th e artist focuses on capturing the elusive equilibrium at a chosen moment in time\, of carefully staged still lifes.

DTEND:20141004 DTSTAMP:20140821T160306 DTSTART:20140906 GEO:43.6765183;-79.3974868 LOCATION:TeodoraART Gallery (T-ART)\,214 Avenue Road \nToronto\, Ontario M5 R 2J4 SEQUENCE:0 SUMMARY:Excerpts from the Book of Entropy \, Eugen-Florin Zamfirescu UID:351615 END:VEVENT BEGIN:VEVENT DTEND:20140913T180000 DTSTAMP:20140821T160306 DTSTART:20140913T140000 GEO:43.6765183;-79.3974868 LOCATION:TeodoraART Gallery (T-ART)\,214 Avenue Road \nToronto\, Ontario M5 R 2J4 SEQUENCE:0 SUMMARY:Excerpts from the Book of Entropy \, Eugen-Florin Zamfirescu UID:351616 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Disarming in their unadorned\, straightforward style\, the portraits featured in this exhibition are draw n from a multi-year gift of 53 works of American photographer Robert Giard to the University of Toronto. In this series\, Giard ambitiously set out to create a portrait archive celebrating American and Canadian lesbian and ga y literary figures in the wake of the AIDS crisis. The Robert Giard photogr aphy collection was generously donated by Jonathan Silin.

DTEND:20141115 DTSTAMP:20140821T160306 DTSTART:20140902 GEO:43.6626467;-79.3953974 LOCATION:University of Toronto Art Centre\,15 King's College Circle \nToron to\, Ontario M5S 3H7 SEQUENCE:0 SUMMARY:Towards the Particular\, Robert Giard UID:351565 END:VEVENT BEGIN:VEVENT DTEND:20140902T170000 DTSTAMP:20140821T160306 DTSTART:20140902T120000 GEO:43.6626467;-79.3953974 LOCATION:University of Toronto Art Centre\,15 King's College Circle \nToron to\, Ontario M5S 3H7 SEQUENCE:0 SUMMARY:Towards the Particular\, Robert Giard UID:351566 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Featuring work by AA Bronson\, artist\, healer\, and surviving member of General Idea\, this exhibition c enters on a series of life-size\, diamond-dusted self-portraits of Bronson as artist-shaman alongside experiments with self-portraiture from the late 1960s to the present.  \;AA Bronson: Life and Work considers the revolu tionary power of queer politics\, self-representation\, and artistic practi ces of healing. Support for this exhibition is provided by the Jackman Huma nities Institute at the University of Toronto.

DTEND:20141115 DTSTAMP:20140821T160306 DTSTART:20140902 GEO:43.6626467;-79.3953974 LOCATION:University of Toronto Art Centre\,15 King's College Circle \nToron to\, Ontario M5S 3H7 SEQUENCE:0 SUMMARY:Life and Work\, AA Bronson UID:351561 END:VEVENT BEGIN:VEVENT DTEND:20140902T170000 DTSTAMP:20140821T160306 DTSTART:20140902T120000 GEO:43.6626467;-79.3953974 LOCATION:University of Toronto Art Centre\,15 King's College Circle \nToron to\, Ontario M5S 3H7 SEQUENCE:0 SUMMARY:Life and Work\, AA Bronson UID:351562 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Organized in collaboration wit h the Thomas Fisher Rare Book Library\, the exhibition comprises over 150 p hotographs taken by the legendary Beat poet and activist Allen Ginsberg\, c apturing his life\, loves\, and artistic community\, including Jack Kerouac \, William S. Burroughs\, Neal Cassady\, Peter Orlovsky and others of the B eat generation of writers\, poets\, and activists. The photographs are draw n on the collection of close to 8\,000 prints recently donated by The Rossy Family Foundation to the University of Toronto Art Centre and Thomas Fishe r Rare Book Library. The exhibition is made possible with the generous supp ort of Lead Sponsor: The Rossy Family Foundation. \;

DTEND:20141206 DTSTAMP:20140821T160306 DTSTART:20140902 GEO:43.6626467;-79.3953974 LOCATION:University of Toronto Art Centre\,15 King's College Circle \nToron to\, Ontario M5S 3H7 SEQUENCE:0 SUMMARY:“We Are Continually Exposed to the Flashbulb of Death”: The Photogr aphs of Allen Ginsberg (1953-1996)\, Allen Ginsberg UID:351558 END:VEVENT BEGIN:VEVENT DTEND:20140902T170000 DTSTAMP:20140821T160306 DTSTART:20140902T120000 GEO:43.6626467;-79.3953974 LOCATION:University of Toronto Art Centre\,15 King's College Circle \nToron to\, Ontario M5S 3H7 SEQUENCE:0 SUMMARY:“We Are Continually Exposed to the Flashbulb of Death”: The Photogr aphs of Allen Ginsberg (1953-1996)\, Allen Ginsberg UID:351559 END:VEVENT BEGIN:VEVENT DESCRIPTION:

->\; \;The Internet has permanently altered not only the means in which we communicate\, but also h ow we identify and place ourselves contextually.

->\; \;As society becomes accustomed to reading symbols\, glyphs and images in lieu of textual devices\, it then follows that there is an exchange of &ldquo\;v iral&rdquo\; images online which create their own subcultural dialogue (img ur\, reddit and 4chan). These &ldquo\;forums &ldquo\; build their own lingu istic paradigms.

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->\; \;The exh ibition will explore what happens when these images leave the digital world and are injected into a physical\, &ldquo\;real world&rdquo\; context (IRL ). \;

DTEND:20140824 DTSTAMP:20140821T160306 DTSTART:20140813 GEO:43.6446171;-79.4168107 LOCATION:Propeller Centre for the Visual Arts\,948 Queen Street West \nToro nto\, ON M6J 1H1 SEQUENCE:0 SUMMARY:forums\, Rasiqra Revulva\, Andrew Weir\, Jonny Haus\, CCOMMA\, John Deamond\, Tracy Kerdman\, Parker Kay\, Shane McNutt\, Denesee Grey Pa ul\, Timothy Mills\, Eve Hypo//CAPSULE GIRL\, Julie Cylia Reich UID:351557 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140927 DTSTAMP:20140821T160306 DTSTART:20140827 GEO:43.6525824;-79.4468751 LOCATION:Olga Korper Gallery\,17 Morrow Avenue \nToronto\, ON M6R 2H9 SEQUENCE:0 SUMMARY:Solo Exhibition\, GERALD FERGUSON UID:351555 END:VEVENT BEGIN:VEVENT DTEND:20140906T170000 DTSTAMP:20140821T160306 DTSTART:20140906T140000 GEO:43.6525824;-79.4468751 LOCATION:Olga Korper Gallery\,17 Morrow Avenue \nToronto\, ON M6R 2H9 SEQUENCE:0 SUMMARY:Solo Exhibition\, GERALD FERGUSON UID:351556 END:VEVENT BEGIN:VEVENT DESCRIPTION:

loop Gallery \;is pleased to present \;Poil\, plume\, peau\, an exhibition of large drawings by&n bsp\;Lorè\;ne Bourgeois \;exploring the hair\, feathers\, skin\, and clothes of humans and animals and \;Today\, it is personal\, a new exhibition by \;kipjones.

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The exhibition\, \;Today\, it is personal\, is a sub jective investigation into the notion of personal navigation with reference s to communication as an abstract. The work seeks to create juxtaposed rela tionships between the formalism of the grid and shaped metal forms. \;< /p>\n

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kipjones \ ;is a Victoria-born and Toronto-based artist who holds an MFA from Concordi a University. He has also worked as a sculpture technician at Mt Allison Un iversity in Sackville\, NB\; as an instructor at Mt Allison\, University of Ottawa\, Concordia University\, and currently at OCADU. \;kipjones&nbs p\;has exhibited internationally\, as has produced major commissioned publi c art projects. kipjones gratefully accepts the assistance of the Ontario A rts Council in the research for this work.

DTEND:20140907 DTSTAMP:20140821T160306 DTSTART:20140816 GEO:43.6493547;-79.424989 LOCATION:loop Gallery\,1273 Dundas Street West \nToronto\, ON M6J 1X8 SEQUENCE:0 SUMMARY:Today\, it is personal\, kipjones UID:351554 END:VEVENT BEGIN:VEVENT DESCRIPTION:

loop Gallery \;is pleased to present \;Poil\, plume\, peau\, an exhibit ion of large drawings by \;Lorè\;ne Bourgeois \;exploring the hair\, feathers\, skin\, and clothes of humans and animals and \;Today \, it is personal\, a new exhibition by \;kipjones. \;

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Strange as they may be\, t here are connections between clothing and animals\, and between states of d ress and nakedness. In her new work\, \;Bourgeois \;attempts to art iculate the existential quality inherent to both subjects while celebrating their singularities. \;

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Bourgeois \;lives in Toronto. Her work has been exhibite d in Canada\, France\, Korea\, Russia and the USA. She is represented in nu merous collections including the Canada Council Art Bank\, MOCCA\, Ernst an d Young\, Senvest\, the Banff Centre\, the Department of Foreign Affairs an d the Donovan Collection. \;Lorè\;ne Bourgeois \;gratefully a cknowledges the support of the Canada Council for the Arts and the Ontario Arts Council.

DTEND:20140907 DTSTAMP:20140821T160306 DTSTART:20140816 GEO:43.6493547;-79.424989 LOCATION:loop Gallery\,1273 Dundas Street West \nToronto\, ON M6J 1X8 SEQUENCE:0 SUMMARY:Poil\, plume\, peau\, Lorene Bourgeois UID:351553 END:VEVENT BEGIN:VEVENT DESCRIPTION:

relay \;is a surv ey exhibition celebrating Lois Andison&rsquo\;s production over the past fi fteen years\, including several new works created for this presentation. Co mpressing time and space\, Andison's work examines human communication and engages language and wordplay\, toying with power dynamics within relations hips. Andison receives information and carefully absorbs experience &ndash\ ; through her kinetic sculptures and mixed media installations\, she interr upts the message and redistributes it\, having added layers of meaning thro ugh an aesthetic translation.

DTEND:20141108 DTSTAMP:20140821T160306 DTSTART:20140902 GEO:43.7835514;-79.1863972 LOCATION:Doris McCarthy Gallery\,University of Toronto Scarborough 1265 Mil itary Trail \nToronto\, Ontario M1C 1A4 SEQUENCE:0 SUMMARY:relay\, Lois Anderson UID:351552 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140823 DTSTAMP:20140821T160306 DTSTART:20140809 GEO:43.6542099;-79.3927314 LOCATION:Bau-Xi Gallery - Toronto\,340 Dundas St. \nToronto\, Ontario SEQUENCE:0 SUMMARY:Group Show UID:351551 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Known Effects of Light ning on the Body \;is a contemplative video installation and a spa ce for quiet reflection. Vicarious bodies (match sticks) are ignited in suc cession\, anthropomorphizing as they burn. Moments of contact between bodie s quickly shift into moments of crisis&mdash\;the physio-chemical crisis st anding in\, perhaps\, for psycho-biological crises&mdash\;which in turn coo l themselves into processes of gradual exhaustion and relinquishment\; the match-body bows\, as it were\, as it is consumed.

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The Known Effects of Lightning on the Body \;was created as an exercise in attention and attenuation. While mortality\, impe rmanence\, and the confluence of the bodily and the metaphysical continue t o be the major themes and primary areas of research of Henderson&rsquo\;s w ork\, he is also interested in how we deal with these universal themes both individually and collectively. He explores human reactions to the inevitab ility of death and the search for transcendence\; intrigued by the ways in which we accept\, deny\, or evade the knowledge of our own eventual and cer tain non-being. Thus\, art becomes a delivery mechanism for philosophy\, ca pable of removing the false problem of the terminus\, the final point we sp end our conscious lives avoiding. It is a practice marked by the persistenc e of collective histories and the brevity of individual lives.

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LEE HENDERSON \;is a media-b ased artist from Saskatchewan. He has studied art in Canada and Germany\, w ith talented professionals including Maria Vedder\, Brian Eno\, and Ellen B romberg. Since completing his MFA in 2005 at the University of Regina\, he has been furthering his time &ndash\; and lens &ndash\; based artistic prac tice. Recent and upcoming exhibitions and screenings include the Zero Film Festival (Los Angeles)\, The Dunlop Art Gallery (Regina)\, The Mendel Art G allery (Saskatoon)\, The Rooms (St. John&rsquo\;s)\, gallerywest (Toronto)\ , and Kunstraum Tapir (Berlin). Henderson currently lives and works in Toro nto where he teaches photography and media art at OCADU and Ryerson Univers ity.

DTEND:20141129 DTSTAMP:20140821T160306 DTSTART:20140912 GEO:43.64787;-79.395175 LOCATION:YYZ Artists' Outlet\,140-401 Richmond Street West \nToronto\, Onta rio M5V 3A8 SEQUENCE:0 SUMMARY:The Known Effects of Lightning on the Body\, Lee Henderson UID:351549 END:VEVENT BEGIN:VEVENT DTEND:20140912T210000 DTSTAMP:20140821T160306 DTSTART:20140912T190000 GEO:43.64787;-79.395175 LOCATION:YYZ Artists' Outlet\,140-401 Richmond Street West \nToronto\, Onta rio M5V 3A8 SEQUENCE:0 SUMMARY:The Known Effects of Lightning on the Body\, Lee Henderson UID:351550 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition title refers to the linguistic concept of the Shifter where the personal pronouns &lsquo\; You&rsquo\; and &lsquo\;I&rsquo\; shift in meaning based on the person utte ring the word. It is as if this programmatic conversational shift of author ship has an inherently predatory nature\, the ultimate linguistic camouflag e for which Rucklidge is attempting to find a visual equivalent\, much like pointing and uttering &lsquo\;this&rsquo\; or &lsquo\;that.&rsquo\; Within this exhibition there is a masked order of conversation\, shuffled within the gallery space\; a first painting seeding a separated second\; seeding a disenfranchised third that clones itself in reflection into a diptych\, wh ich then bifurcates. Several of the paintings then seed new forms via torn digital scanning and abrupt mechanical shearing\, and so on within the spac e until the final work slips into its camouflaged slot.

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Despite the use of Shifting and Shuffling as central (di s)organizational metaphors for the exhibition\, within all of the paintings there is an attempt to find a visual focus for the sense of unrest that fe eds Wilhelm Worringer&rsquo\;s urge to abstraction\, to &ldquo\;render the natural model with the line drawn absolutely straight\, in response to a ma rked tendency toward maximum crystalline regularity.&rdquo\;[ i] \;At one pole\, there are life denying inorganic crystalline for ms\, geometric constructions modeled from the mill cut linear units of Poe and Lovecraft&rsquo\;s uneasy sheds of hidden America. At the other pole th ere is the urge to empathy\, which allows the mimetic impulses of organic s hapes (the signature of a confidence in the external world) to bud within t hese geometric forms. At another level Rucklidge has attempted to confront the edge-center problem by seeding these forms from one painting to the nex t sequentially. This is a way of introducing a temporal aspect to the works in the series by linking them beyond the equally probable limits of the ca nvas. This visual cloning allows geometric containment to ferment an interi or wildness of form\, whose character is to dispute the internal edges and to some degree leap beyond the canvas edge from painting to painting. Nasce nt wild forms sprouting\, expanding and cooling into crystalline hard edges .

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Technically\, the early seed works of this show follow the procedure of the \;Tü\;chlein  \;paintings of the 14th \;and 15th \;century from the Netherlands. These paintings were made of distemper on linen cloth \; a fussy technique involving layered applications of pure pigment and the rendered glue of animal bones. Raw\, faded\, sunken\, matte\, crumbling wi th an inherent scent of neglect\, castles and power. Using this technique r elates to the hunt and all its metaphoric implications: sighting\, baiting\ , tracks\, traces\, escape\, ammunition\, stalking\, camouflage\, waiting\, and ideally the feast. This pretty much sums up any artist&rsquo\;s daily checklist\; a famished borderline detective.

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Rucklidge&rsquo\;s vision is an exhibition where repeated forms and surfaces would be shifting and hunting each other across the gallery. The paintings would refer and relate to each other in a predatory stalking mann er\; the variants of basic forms reasserting themselves within new backgrou nds and contexts (a pictorial natural selection). The initial referent form s being geometric and acting as seeds in the picture plane and then becomin g amplified using compositional devices. The crystalline character of the s eeding geometric forms then relates to the instinct for the &lsquo\;Thing i tself\,&rsquo\; most powerful in primitive man:

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&lsquo\;The Geometric line is distinguished from the natural object precisely by the fact that it does not stand in any natural context &hellip\;taken out of the ceaseless flux of the forces of nature they have become visible on their own&rsquo\; \;(Lipps\, \;Ä\;st hetik\, 249).

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That geometric lin e should slice just like the bolt of an arrow out of the blue.

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This hunt dovetails nicely into the Modernist sea rch for the &lsquo\;Sunken Treasure&rsquo\; and with the Marxian concern wi th the outmoded and the nonsynchronous:

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&lsquo\;The marvelous is not the same in every period: it partakes i n some obscure way of a sort of general revelation only the fragments of wh ich come down to us: they are the romantic ruins\, the modern mannequin&rsq uo\;(Breton\, \;Manifesto).

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ANDREW RUCKLIDGE \;received his MA in Fine Art at Chelsea College of Arts in London in 2003. He has shown internationally at The New Contemporaries (London)\, Store Gallery (London)\, John Connelly Presents ( New York)\, Frieze Art Fair (New York)\, Zoo Art Fair (London)\, The Armour y (New York)\, NADA Miami (Miami)\, VOLTA (Basel)\, Art Chicago (Chicago)\, Berliner Liste (Berlin)\, Art Cologne (Cologne)\, DC Dusseldorf (Dusseldor f)\, as well as the SCOPE art fairs and TIAF in Toronto. In 2013\, he recei ved both the K.M. Hunter Visual Artist Award and the Laura Ciruls Painting Award. His work is in collections such as UBS (London)\, Zabludowicz 176 Co llection (London)\, Kunstmuseum (Gotland)\, Soho House (London and Toronto) \, Google\, Bank of Montreal\, and Scotiabank. Rucklidge currently lives an d works in Toronto where he also teaches in the Department of Painting and Drawing at OCADU.

DTEND:20141129 DTSTAMP:20140821T160306 DTSTART:20140912 GEO:43.64787;-79.395175 LOCATION:YYZ Artists' Outlet\,140-401 Richmond Street West \nToronto\, Onta rio M5V 3A8 SEQUENCE:0 SUMMARY:You and I are Shifters\, Andrew Rucklidge UID:351547 END:VEVENT BEGIN:VEVENT DTEND:20140912T210000 DTSTAMP:20140821T160306 DTSTART:20140912T190000 GEO:43.64787;-79.395175 LOCATION:YYZ Artists' Outlet\,140-401 Richmond Street West \nToronto\, Onta rio M5V 3A8 SEQUENCE:0 SUMMARY:You and I are Shifters\, Andrew Rucklidge UID:351548 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Toronto-based artist and write r Sam Cotter works across photography\, film\, installation and sculpture t o examine issues of visual representation. In his installation \;Sp it and Image \;(2012&ndash\;14)\, \;Cotter explores p arallels between spatial illusion and linguistic instability through the cr eation of an expanded cinema work that combines a continually looping film with an asynchronous poetic monologue. The installation utilizes a two-way mirror as a screen\, extending the temporal and spatial ambiguities of cine matic representation into the space of the gallery.

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Within the work&rsquo\;s film component\, Cotter explores id eas of compression and expansion of depth in cinematic space&mdash\;both in the act of looking through the camera and in viewing the resulting image. The film depicts a somewhat ambiguous location that parallels the mirrored installation apparatus\; it lies somewhere between a hall of mirrors and a deconstructed film set. As a cinematic installation\, \;Spit and Im age \;creates a site of optical disorientation that offers an imme rsive reflection on the artifice and staging devices of film.

DTEND:20141026 DTSTAMP:20140821T160306 DTSTART:20140917 GEO:43.6577458;-79.3792455 LOCATION:RYERSON IMAGE CENTRE\,33 GOULD STREET \nTORONTO\, ONTARIO SEQUENCE:0 SUMMARY:Spit and Image\, Sam Cotter UID:351546 END:VEVENT END:VCALENDAR